Glamour Portrait Poses

1. Jules Erbit

Image 1: Here we see a simple pose with the model leaning on the back of the chair with the back toward the camera. The right arm is up, continuing the line of the back, but space is left between the chin and the shoulder by raising the chin slightly. To achieve this, the head is lift "by the chin": rather than tipping the head back, the model lifts the chin. This provides a smoother line along the neck.

The left hand is holding a phone in this image, but the model can experiment with things like placing the left hand on the right arm, using the fingers to frame the face, or tucked into the hair on the left side of the head.

2. Alberto Vargas

Image 2: If the model swivels around to have the chest, rather than the back facing the camera, she will be in position to create this pose. The right shoulder has been dropped and the face turned to the right. Notice that the side of the head is tilted right, forming a second line that breaks the one formed by the back, redirecting the eye along the line through the chest. Both hands a brought forward to frame the chest. With a little squeeze of the upper arms the model can create more cleavage, or relax them to de-emphasize the cleavage.

The next poses in the sequence are variants on the back lean.

3. Alberto Vargas

Image 3: From the pose in Image , lean back keeping shoulder tilt and arm position the same. Tilt the head by rotating the face on the nose, bringing the chin more right and the forehead more left. Pay attention to what happens to the right side of the neck: if you're in position then it will be smooth.

In this image, the model accentuated the lean back and brought the elbow in to compress the chest. Although the other arm is not seen, it would have been placed across the stomach. Both arms would have have been brought together slightly to provide more cleavage, while the right hand was brought up to the face.

4. Alberto Vargas

Image 4: This pose is over-the-top dramatic. The right forearm is brought to the brow in the classical "woe is me" pose. The model can add a deep sigh as the assume this pose to get into the mood. Notice that extending the arm back brings the chest up, making it more prominent.

5. Billy De Vorss

Image 5: Have the model bring the right hand down and place it between her breasts, then bring the left hand up behind her head. This pose opens up the chest, with the right hand drawing the eye down to the cleavage. The eye then follows the line of the body up to the hand, then to the face via the left arm, and then down the right shoulder to the hand. The circle keeps the viewer locked into the image.

6. Alberto Vargas

Image 6: The model swings around to the right, the right should being slightly farther back and lower than the left. The right hand is on the left arm, creating the circle around the chest. A squeeze upward with the right arm can further accentuate the chest. Notice the head tilt to the model left to keep the pose dynamic.

7. Arnold Armitage

Image 7: This pose can be seated or standing, but require the model to lean on something. For our purposes, the model can use the back of the chair as something to lean on.

Have the model move the right shoulder farther back and upward slightly above the left, the left should moving slightly down until the chest is at 45 degrees to the camera. Again, one hand over the other (left over right in this case to cover the back of the right hand) to create a circle around the chest. The head tilt to the model right completes the look.

8. Billy De Vorss

Image 8: To complete the sequence, have the model move the left shoulder until the back is slightly toward the camera. The left hand is in front of the chest and can be placed on something, but will essentially be out of the shot. The chin is slightly hidden behind the shoulder.